As I look into my records that I’ve brought to university, it’s becoming clearer and clearer that after the next couple of articles I will be forced to detach myself from writing about punk and post-punk era releases, especially when writing about albums.
Admittedly, this is in a way somewhat liberating – I love punk, and always will, but I feel there’s so much more to explore, and I do find myself describing punk songs in a similar way repeatedly because of the songs’ similarity to one another.
I’ve got a couple of rap albums, a few American grunge albums and even Stone Roses’ debut album to contend with. There’s a more diverse mix still sitting at home, from Billy Bragg to The Orb, strangely enough, which I look forward to writing about at some point.
Anyway, I’m babbling. I went for three releases that offer something a bit different but still very much remain in the punk sphere. Quite independent in the sense that I could only name a couple of artists who parallel their sound, but records that I hold closely and still listen to today.
It’s Obvious B/W Diet – Au Pairs
I’ve always preferred female singing voices to male singing voices, my favourite voice of all-time being Cat Power’s, who I strongly recommend to anyone reading. In the punk-sphere, I first listened to and adored The Slits, and I later stumbled across Au Pairs on the Punk Britannia documentaries I’ve mentioned in previous articles – they played Set-Up, a wonderfully danceable tune fronted with beautifully calm vocals and a scintillating bassline.
For me, It’s Obvious, though a good song, isn’t on par with most of their debut album Playing With A Different Sex. It’s a decent single, good for the consumer, but it’s nothing special, in my opinion anyway. The bassline is still stunning, a classic for the era, while the development of the song into a guitar-driven whirring frenzy is strong, but it’s still not as good as it could be.
The B-side Diet is a different story. It seems to have an extra edge, a greater serving of angst, an additional anger. The post-verse chord sequence seems to grow more and more powerful as the song progresses, and the harsh cuts of the strings into the second half of the song are so tough but so gratifying. As ever with Au Pairs, this is all caringly looked after by an equally forceful and funky bassline.
I revisit Diet every now and then and give it a run out on my Spotify playlists, it’s one of those songs that I can’t ever forget – the first time I listened to it was actually on the 7” single I bought (I believe at Spitalfields Market in 2017) and it always remained a favourite – I think it’s the general Au Pairs sound that appeals to me.
A flaw I’ve only just encountered of this series of articles is that for some singles I don’t actually have the original sleeve, rather a paper substitute. So, I won’t be commenting on the sleeve!
A strong single for the sake of being a single, but there’s much more on offer outside of the headline act, I feel.
A-Side: 3/5 B-Side: 4/5
Love Like Blood B/W Blue Feather – Killing Joke
This is an interesting one for me. When I was 16 I think I easily spent about 6 months with Killing Joke’s album Night Time on repeat. I’m an absolute sucker for bass-driven post punk, and they ticked all the boxes for me, plus their gothic edge has always kept me listening.
However, there were two Killing Joke songs that I played the hell out of – Turn To Red, from their debut EP, and then, inevitably, their biggest hit Love Like Blood.
For what it is, I think Love Like Blood is a perfect blend of punk, goth and pop. I don’t think Coleman’s vocal tone can ever be considered ‘pop’ in any way, but the music that accommodates it certainly has a commercial twang to it. I used to play this song every single day, every walk to school, every walk home from school, every time I arrived home from school – you get the gist.
Though, I listen now and there’s always something that just isn’t quite there for me. It’s a severe case of overplaying a song and having it lose any meaningful effect on you. I can’t ever listen to it in full anymore. I can’t really explain it. I also would’ve easily named KJ in my top five favourite artists at the time, but now I can’t ever seem to be able to revisit them at all at the moment.
Contrarily, writing this article was actually the first time I’d listened to the B-side Blue Feather, and thankfully it’s a really nice song. It follows the usual KJ protocol, but is still a very pleasant listen. There’s a certain melancholy to it that compliments the sound of Love Like Blood fittingly, and the guitar line during the verse is also noteworthy. A suitable and effective B-side.
I find the sleeve quite throwaway. I don’t really have anything to say about it, to be honest. It’s just a necessity more than anything.
A single that I can fully appreciate, but can never listen to in the same way that I have in the past, though the B-side perhaps offers a new gateway to get back into KJ at last.
A-Side: 4/5 B-Side: 4/5 Sleeve: 2/5
The Flowers of Romance – Public Image Ltd
PiL will always be a favourite band of mine. Sex Pistols have never grabbed me in the way they should have – they have some brilliant songs, but I wouldn’t choose to listen to them. PiL, meanwhile, have always offered something a bit different, a bit more edgy and artistic.
The Flowers of Romance (TFOR) is no different. It came after the wonderous Metal Box/Second Edition LP, which for me holds PiL’s best three songs – Memories, Death Disco (aka Swan Lake) and the superbly ethereal Poptones. It was a radical departure from their debut LP, and Flowers of Romance is a further departure from their original sound.
It’s apparent the idea of melodic pleasure was a disgusting vision for Lydon at this stage. Any sort of catchy song was to be frowned upon and thrown away. TFOR came in a musical environment of growing industrial rock, a jarring and sometimes difficult listen that really does demand a lot from the listener.
And what better way to sum up this atmosphere by kicking off the album with a solitary drum line, occasionally backed by this crazed, psychopathic cry from Lydon? There’s nothing at all you can nod your head to. You have to sit and listen. There’s not really any other option, unless you’re able to time some sort of disturbingly jaunty dance to it, which in itself is not a particularly desirable image.
Track 8 (ironically placed as the second track, har-har) in itself is actually out of time. It’s a more layered than its predecessor but if you try to tap your foot to it you’ll end up losing your place. Now, I love this song. Completely. It’s so different to anything else I’ll ever hear. Lydon languishes with sneering vocals, ending with the line ‘right, I’m finished’ – I don’t think there’s a more shamelessly pessimistic way to end your contribution to a song.
Phenagen is another joy that follows. It’s so gloomy, so miserable. The transitions between parts are somewhat awkward and seem a bit improvised sometimes, but it’s still brilliant in its growth as it progresses.
I’ll say now that side one is much better and lot more memorable than side two. Banging The Door is by far the best track on the second side and probably the only real standout track.
As a whole though, it’s an engrossing listen – uncompromising but extremely rewarding once conquered. I can’t really think of anything quite like it, it’s an assembly of ominous anger that never quite erupts into a meaningful fury, but still reeks of incandescent rage that’s reluctantly restrained throughout. The sleeve is one of my favourites of all time. I believe the it’s a picture of the band’s photographer, and it looks like total gothic mayhem.
It’s an accomplished album with Lydon at his volatile best, while its minimalism and artistry is virtually incomparable.
Side One: 4.5/5 Side Two: 3/5 Sleeve: 5/5